I started painting as a child and continued through college, BFA Carnegie-Mellon University, and into my early forties. In the mid nineteen eighties I started working as an architectural designer and model maker for the architect Norman Jaffe. Eventually Mr. Jaffe asked me to carve two twenty-foot long friezes on the wall of a house in Southampton. This commission led to a decade of large architectural carvings. One project was for an Ambo (lectern) for a church in Seattle, Washington. An open book was carved as the bible rest. I was so intrigued by this object that I began carving open books. Then I started painting the pages. In 2004 I was offered a show at Guild Hall Museum in East Hampton, New York. Working toward the show I switched from mahogany, which I had used for my architectural sculpture, to pine. The pine was transformational as the new work was no longer obvious sculptures of books carved from wood but objects that jumped from seeming reality to sculpture depending on the viewer’s distance from them. The paint and ink sat on the pine much as it would on paper. Eventually the scope of the work expanded from books to any paper object, such as charts, cards and even money. There is no attempt to hide the fact that they are wooden. Most of the work has some bare wood visible. Many dimensions are unmeasured and many shapes and thicknesses are subtly exaggerated. There is no real object. Each sculpture is hand carved from a single block of Vermont white pine and hand painted with ink and acrylic. No glue is used. There are no preliminary drawings. The idea flows from my mind’s eye in a totally reductive process from the original block of wood to the finished sculpture.